'Evidence of a Haunting' is a mess

Evidence of a Haunting (2010)
Starring: Jessica D. Fulling, Scott Evans, Renee Wiggins, Korin Medina, Christopher Cassarino, and Robert M. Alford
Director: Joey Evans
Rating: Three of Ten Stars

Six ghost hunters on a reality TV show come up against increasingly dangerous spirits in their final three investigations.

"Evidence of A Haunting" is another one of those movies that draws its inspiration from the ever-increasing slate of shows like SyFy Channel's "Ghost Hunters". I haven't seen many episodes of any of them, but if the reality show that the characters in this movie star it existed, it would probably be like a cross between "Fact or Faked" and the aforementioned "Ghost Hunters".

I say "probably," because while we, in theory, are presented with at least one investigation as it would appear on the show, and we are given clips throughout the film of the kind that would appear on such a show, we never really get a sense of what the show is actually like. I suspect it would be a highly produced, high-end show like "Fact or Faked," but the film never gives us enough to work with to know where the characters fit on the hobbyiest to successful professional spectrum.

This problem could have been fixed if a little more time had been spent on the script in the character development department. The characters really needed to be explored more, as did their place in the world.

And if that had been done, maybe the filmmakers would have realized that their film was lacking in a consistent tone, or any sort of cues to the audience that the film would be shifting between "documentary"/"cinema verite" style and a regular, plainly fictional film, and eventually completely abandoning the conceit that we're watching footage culled from the team's final investigations.

A problem that no amount of improvement in the script, or a more consistent story-telling style used, would have fixed, is the wide variety of acting talent on display from the cast. A couple of the stars do almost professional-level work, but the majority of the cast are so wooden you almost have the feeling they were only making the movie because their families were being held hostage somewhere.

All in all, a film you can probably skip.

Goregoyles: First Cut (Mutant Edition)

Goregoyles: First Cut (Mutant Edition) (2007)
Starring: Mireille Leveque and Marc Vaillancourt ("Beast" segment), Robert Harvick ("The Holy Terror" segment), and Eric Therrien (Host segments)
Directors: Alexandre Michaud and Augustine Arredondo
Ratings: Six of Ten Stars

I've sung the praises of the anthology fillm format in the past. However, Canadian director Alexandre Michaud recently demonstrated a feature of the anthology that I hadn't considered: If part of the "film" sucks, you can replace it with something else while leaving what worked intact.

And that brings us to "Goregoyles: First Cut (Mutant Edition). This curiously titled DVD, which was first released by Brain Damage Films in 2007, is a revised version of Michaud's 2003 "Goregoyles: First Cut" anthology film.

The only real complaint I had about the original "Goregoyles: First Cut" was the segment titled "Bezerker", a weak attempt at a zombie movie that stuck out like a sore thumb in an otherwise decent package. Given that "Bezerker' is nowhere to seen in the forthcoming "Mutant Edition", I assume that I wasn't the only reviewer who had unkind things to say about it. And it's absence is greatly appreciated, as it smooths out the film, resulting in a even level of quality across all segments.

(Although I need to stop thinking of the elements of a "Goregoyles" package as "segments". They are actually distinct short films, each directed by a different independent horror filmmaker and surrounded by "host segments" featuring a severely perverted and violent male Elvira-type character. Producer/Writer Michaud has stated that the "Goregoyles" series was conceived along the lines of the big-budget extravaganza "Grindhouse", in so far as each installment is a "double-feature" of short films. Not only did Michaud come up with the idea before Tarantino, but he's managed it better... he's offering cheapie horror movies that were made with budgets appropriate to cheapie horror movies... and if Tarantino, Rodriguez, and the Weinstein Company had kept the budget in line with the sort of movies they were presenting, maybe they wouldn't have had a financial disaster on their hands. I digress, but the "Goregoyles" series is, in some ways, what "Grindhouse" aspired to be.)

As with the other two "Goregoyles" reviews I've written, I'm going to review and rate each element of this film seprately, which will lead to an overall evaluation and rating. (Given that this is a revision of the original "Goregoyles: First Cut", I am considering the new material presented in comparison to what it replaced, as well as on its own merits.)

First up, we have the "host segments". In the original "First Cut", each film was introduced by a whacked out character named Uncle Dodo (played by Sebastien Croteau) who came across like a counter-culture, death-rocker take on Cain from the old "House of Mystery" comics. In the "Mutant Edition", the films are introduced by Uncle Vicious, a monstrous, sadistic, murdering rapist who doesn't show any of the wit or charm of the Dodo character. The gory violence he visits upon a tied-up, naked woman in the host segments (including raping her to death with a nail-studded dildo; an act that happens off-camera but which forms for the foundation for "Farewell from Uncle Vicious") was something I found quite off-putting. I understand, however, that this type of material is quite popular with the target market, and I also realize that the fact that I've been stabbed and cut, and have suffered broken bones and crushed fingers might make me more prone to react negatively to detailed torture scenes and other displays of physical pain on film. When these factors are taken into account, I can stand back and say that the host segments are decently presented, Therrien presents an appropriately insane character, and they do the job they're supposed to do nicely. I didn't find them as informative, intresting, or amusing as the host segments in the original version of the film, but they still earn a (low) Six of Ten Star-rating.

The replacement for "Bezerker", as mentioned above, is "Beast" by Alexandre Michaud. According to Helltimate Studio's website, "Beast" was originally produced for a werewolf anthology film, which I imagine ended up never happening, as the film is being presented here. (It was also made some five years ago, according to the copyright date on the end credits.)

"Beast" is part slasher-film and part psychological horror film. It's the story of a woman (Leveque) whose life goes from bad to worse when her mentally unstable brother (Vaillancourt) murders her husband and then abducts her so she can stop him from turning into a werewolf. Although somewhat clumsily written, the film is saved by some excellent acting on the part of Leveque and Dubreuil, and a last minute twist that may cast a different light on the opening murder. Director/writer Michaud is also to be congratulated for finding a way to incorporate the basics of a werewolf story into an ultra-low budget film and avoid transformation and make-up effects that leave entirely too many films of this level looking amatuerish and laughable. Even five years ago, Michaud understood how to work within his means. "Beast" gets a rating of Six of Ten Stars.

Finally, we have "The Holy Terror", the story of a man (Harvick) who becomes possessed by a demon who once gave Satan himself a run for his money. I raved about this short film in my review of the original "Goregoyles: First Cut", and my opnion remains mostly the same. I noticed some problems with the sound that didn't register last time--such as dialogue that's a bit hard to hear due to ambient sound in the scene--but I still think this film is a must-see for aspiring filmmakers. It's amazing what director Augustine Arredondo accomplished for a reported $800... and it's a shame that he apparently hasn't done anything else since.

In the final analysis, "Goregoyles: First Cut ("Mutant Edition") is two steps forward and one step back. Replacing "Bezerker" with "Beast" greatly improved the overall quality of the offering by removing a trashy little flick that wasn't worthy of the material it was surrounded with. On the other hand, the host segments lack the charm of the ones featured in the original... although I suppose they may appeal more strongly to gorehounds and fans of the "torture films" that seem to be in vogue these days. (I'm also slightly dissapointed by the absense of the "making-of docmentary for "Holy Terror", but an interesting interview with Michaud and the stars of "Beast" almost makes up for that... and those DVD extras aren't part of the film anyway.)

It earns a solid Six of Ten Stars and my recommendation to those who appreciate well-crafted low-budget movies.

'Demon Kiss' is flawed but watchable

Demon Kiss (2010)
Starring: Sally Mullins, Elizabeth Di Prinzio (aka Jessica T. Perez?), Sebastian Gonzales, and Jamie Macek
Director: Dennis Devine
Rating: Four of Ten Stars

A demon goes on a bloody killing spree, thinning the roster of an escort service while moving from body to body while searching for the reincarnated Mary Magdalene, the "mother of all whores." Meanwhile, a police detective (Gonzales) and the "psychoanalyst to the working hooker" (Mullins) are desperately trying to identify who the serial killer is and stop him.

"Demon Kiss" is a movie I should come down on like a ton of bricks. Its director, Dennis Devine, has helmed better movies (with "Caregiver" from 2007 springing immediately to mind); the cast is mostly community theatre-level when it comes to both acting skills and acting styles; the production was so cash-starved that the gore effects are weak and almost no effort was made to hide the fact that the same room is recycled as different locations, and the theological and historical under-pinnings of the story are so shaky that it made my old-time Humanities Major heart cry out in pain.

Despite all those negatives, however, the film held my attention... and that's saying a lot these days when I'm being pulled in all kinds of directions by non-movie related demands. I can't quite put my finger on what made this movie more entertaining than annoying, but the fact that ten minutes didn't go by without a attractive woman getting naked was part of it.

Another part was, despite the fact that the tired cliche of a "hooker with a heart of gold, looking for a way out of the profession" was joined with the slur that Mary Magdalene was a prostitute was one part of the script that stuck in my craw more than anything, was that Elizabeth Di Prinzio (or Jessica T. Perez in some credits listings) gave such a good performance that I wished she'd had more screen time. I was interested in seeing how things turned out for this character, especially with all the references in the film to Jesus having returned to Earth and that they two of them were fated to meet again. (And this is the demon's plan: possess the reincarnated Mary and thus later possess the reincarnated Jesus. Not a very good plan, but still a plan... which is impressive given how stupid and shortsighted this demon is portrayed as.)

A fun, over-the-top performance by Jamie Macek as a demon-possessed homicide detective was also something I found entertaining. He gives viewers a villain to hate even when he's not possessed by the demon.

The rest of the cast, as I mentioned above, are about par for the course for movies at this budget level, including the lead actress Sally Mullins (who also produced the film and co-wrote the script with Devine), but none are downright awful--a couple are borderline, but they were obviously hired for their boobs and tattoos rather than acting talent. But with the two fun performances to lift the film up, everyone else is passable.

The only things that keep this film from getting a Five rating from me instead of the low Four it has now is that Devine and Mullins weren't very adept in hiding their sources of inspiration for the story. I'm not talking about Bible sources, but rather films like "Fallen" and "The Exorcist" and/or low-rent rip-offs like "Eerie Midnight Horror Show". Not hiding your sources becomes a danger when the audience keeps thinking how the source borrowed from is better than what we are currently being subjected to... and it becomes downright fatal when the movie's climax is one that has been done better many, MANY times over. And to make matters worse, the whole bit with Jesus walking the Earth and Mary Magdalene being reincarnated never really pays off... and the obligatory "shock twist ending" pretty much established that it never will.

In the end, "Demon Kiss" stands as a deeply flawed but watchable film... assuming you don't mind boobs and gore mixed in with a weakly conceived theological horror plot.

'Bloodlock' should have stayed locked up

Bloodlock (2008)
Starring: Ashley Gallo, Dominic Koulianos, Gregg Biamonte, Debra Gordon, Karen Fox,
Dick Hermance, and Nick Foote
Director: William Victor Schotten
Rating: One of Two Stars

Young married couple Christine and Barry (Gallo and Biamonte) discover a sealed door made of titanium in the basement of the house they have just purchased. As Christine grows obsessed with what might be behind it, her husband and slutty sister (Fox) are having an affair... and the creepy neighbors (Gordon and Hermance) are plotting to get into the door and take possession of what's inside.

William Victor Schotten is a filmmaker who is learning is craft as he goes. This is evident from the two films from him I've watched so far... this one, the oldest, and the Rapture/Zombie tale "Sabbath". Both date from 2008, but while "Sabbath" is far from perfect, it's a much, MUCH better film than "Bloodlock."

Heck, based on the difference in quality between "Bloodlock" and "Sabbath", I may have to get my hands on Schotten's most recent film--"Silver Cell" from 2011, because if he's continued at that rate of improvement, he may just have created one of the Greatest Movies Ever Made.

There's no word to describe "Bloodlock" better than "inept." The pacing is wrong from the get-go and it only gets worse as the film unfolds... with sequences that could have benefited from a little a pause being raced through like they were running out of film, and sequences that should have been quick being dragged out. The script is disjointed and chaotic, with a number of tones drifting through the disorganized story like so much flotsam as the film moves from being a erotic thriller, to a gory monster flick, to a half-assed comedy. There was also clearly a lack of funding when it came to special effects and a lack of rehearsal time when it came to the fight scenes... and the inexperience of Schotten and his technical crew only makes these shortcomings more obvious because they were either unable to use cinematic trickery to cover for them, or unaware of the fact they were looking at inadequacies until it was too late to do anything about it. And, finally, the ultimate doom for the movie are the mostly amateurish actors struggling with flat, poorly written lines. (Dominic Koulianos and Karen Fox are not only called upon to deliver awful lines, but they don't seem to be all that talented to begin with. That's a mix that destroys almost every scene they're in.)

This is, however, also one of those films I wish I could say nicer things about, because hidden inside this mess are some gems. I like the pirahna-style design used for the vampires in the film, and I think something cool could be done with the psychic housewife-turning-monster-hunter. But in this film, both of these cool aspects are all but wasted.

The one thing I have to give Schotten (or maybe screenwriter Tom McLaughlin) is that he realized this movie was disjointed and messy. So clear was that realization was that the film ends with the old "it was all a dream" and then loops back on itself by repeating an early scene. If you have a movie that doesn't make any sense, I suppose that's not a bad way to try to say "We meant to do that!". My reaction to such endings are typically either an irritated growl at the lazy cop-out or a grin at the well-executed creepy moebius loop, but seeing it here at the end of "Bloodlock" just made me a little sad. It seemed to say that the filmmakers knew what they had here didn't amount to much of anything.

A good idea is butchered in 'Demon Slaughter'

Demon Slaughter (2008)
Starring: Adam Berasi, Bill Wittman, Vic Badger, and Shannon Johnson
Director: Ryan Cavalline
Rating: Three of Ten Stars

Psychopathic killer Jimmy (Berasi) decides to quit the crime syndicate by stealing a few million dollars from it and then killing everyone that might come after him. But his partners in crime get wind of his intentions, and they decide to take out Jimmy and his wife (Johnson) first. And that's when the demons and zombies start popping up.

"Demon Slaughter" has in interesting story at its heart and that makes it yet another in the seemingly unending row of films I wish I liked more. Jimmy, as played by Adam Berasi is an absolutely unlikeable character, but the viewers become invested in his fate despite ourselves; he's a character like Scarface (from the 1930s version... I've not seen any of the remakes) with even fewer good qualities. This is a credit to Adam Berasi's acting talent more than the material (or the props) he's working with.

Unfortunately, the film is nowhere near as powerful as it might have been, due to budget- and skill-limitations on every front.

First off, this is a movie with lots and lots of gun-play in it, but there was not the money to hire an armorer (so the weapons--some of which look like toys--are never fired and the actors don't even try to simulate recoils), nor the budget to actually damage the interior of a building where a massive shoot-out takes place (all those missed shots from the automatic weapons never impact anything), nor the special-effects know-how to rig actors with squibs (or whatever the modern equivalent is) and blood-packs for when they get shot. All-in-all, the shoot-outs and gangster action felt more like someone trained a camera on adults playing Soldiers or Cops & Robbers rather than something that belonged in a movie.

Second, there wasn't the budget to fully create scary zombies when all of Jimmy's victims (I assume that's who the zombies were, although that's never expressly stated) come back for their revenge. The make-up and costumes were reminiscent of a high school play or cheap haunted house rather than something that belonged in a movie. It also didn't help that there were barely half a dozen zombies when the sequence called for a veritable hoard of them.

And then there's a the sound effects and sound recording in general. There is a reference to "boom operators" in the credits, but if such were used on this film, they were the least competent people to ever handle that equipment. It seems more likely that all dialogue was recorded with the built-in microphone on the cheap video camera that was used to make this movie, as there are times where the dialogue is so soft so as to be almost inaudible and the volume of the actors' voices vary greatly... sometimes to the point of being inaudible. And Cavelline uses the game gunshot sound over and over and over and over and over....

Finally, the transition point from violent gangster flick with a few horror touches into full-blown surrealistic horror film is so clumsily handled that anyone who's read "An Occurrence at Owl Creek Bridge" (or read any of the many comic book adaptations, or the "Twilight Zone" episode based on it) will have a pretty good idea about where the rest of the film is headed. If the story had been a little more elaborately structured--with the first half perhaps being in flashback?--maybe it could have been a little less predictable.

Despite all the toy guns, bad effects, and clumsy filmmaking, the film has enough moments to make it just good enough to not end up at Movies You Should [Die Before You] See... but only barely. The scenes surrounding the death of Jimmy's wife that lead up to the transition from gangster movie to horror movie are pretty well done and are the film's highlight.

"Demon Slaughter" can be found in several DVD multi-movie packs from Maxim Media's Pendulum Pictures and Brain Damage Films. It's worth checking out if acquired that way, but you will regret spending the money if you get any stand-alone version that might be out there.

'Goregoyles 2' has something for all horror fans

Goregoyles 2 (2007)
Starring: Marco Calliari, Sebastien Croteau, Martin Dubriell, Eric Therrien, and Chantrel Petrin ("Clean" segment); John Muggleton, Tara MacKenzie, Ryan Greenacre, Brett Kelly, and Mark Singleton ("The Walkers" segment); Eric Therrien, Isabelle Stephen, and Sylvain Dinelle (Host segments)
Directors: Alexandre Michaud and Nigel Finlayson
Rating: Seven of Ten Stars

"Goregoyles 2" is Canadian director/producer Alexandre Michaud's follow-up to "Goregoyles: First Cut", and, like its predecessor, it's an anthology film.

While there's nothing that quite reaches the high-points of the best parts of the original "Goregoyles", there's also nothing here that's as mind-crushingly awful as the original's low-points. The quality level is consistent across all the parts that make up this package.

Another noteworthy thing here is that the directors responsible for the content here obviously have a sense of how to make a low-budget film. In the case of Michaud, he knows that when making a splatter-fest (which is the best way to describe his contribution here), the budget needs to be spent on making the blood and guts look good.. but he also knows that he doesn't have the money (or maybe even access to the technical know-how) to make truly complicated gore effects look good, so he knows to not let the camera dwell upon them. Even better, neither film overreaches the limitations of the modest budgets they were made within. That alone makes the efforts praiseworthy, and it shows that Michaud and Miles Finlayson understand how to work with limited budgets. That puts them in a class that 90 percent of horror filmmakers out should aspire to being in... and that 90 percent would be well-served to use the work here as a model for their own.

"Goregoyles 2" consists of two short features and introductory host segments. The DVD I screened also contained an interview with directors Michaud and Finlayson. I'll address each part in turn, assign a rating to each, which in the end averages out to the Seven-star rating I've given the entire package.

First, the host segments. Like in Michaud's first anthology film, each part of "Goregoyles" is introduced by a Crypt Keeper-like host. Here it's Uncle Vicious (Therrien), and he offers general comments on each upcoming film while showing off his sadistic sexual tendencies. These are servicable, if tacky, bits of film, although I liked the wittier, more informative introductions from the original "Goregoyles". The best part here was the "Farewell from Uncle Vicious" segment where Therrien (joined by Michaud and the boom-mike operator) demolish the set while Isabelle Stephen go-go dances topless in the background to blaring hard rock. I only wish the other segments had been so amusing. Still, they were okay, so the host segments get a rating of Six Stars.

The first film in the package is "Clean". It's a strange, gory picture that stars Marco Calliari as Crane, a brutal murderer who has hooked up with other sexual psychopaths through an Internet chat room, and has been invited to their once-a-year, face-to-face gathering. Like the rest of them, he's there for the beer and brutal slayings... but he has a different sort of victims in mind than his fellow "hobbyists." The hunters become the hunted as Crane sets out to wipe the slate clean.

Although "Clean" is the sort of movie I usually give low marks to (if I bother reviewing it at all)--it's full of horrible violence and gore, hateful characters, and utterly humorless--I actually like this one. Unlike the ever-growing wave of movies that feature violence and brutality for no reason other than to feature violence and brutality (all the various "Saw" imitators), "Clean" doesn't attempt to make the violence look sexy, nor does it attempt to entertain the viewer with it. Here, the violence is presented as horrible and ugly, and anyone but people like the characters who have gathered to watch a female captive (Petrin) to be tortured to death will almost certainly have to avert their eyes as it unfolds on screen. (I certainly couldn't watch as Joe--played with perfect hideouslness by Sebastien Croteau--sliced the poor girl with a razorblade and then poured salt and Tabasco sauce into her open wounds.)

The people who commit the heinous acts aren't at all glamorous or witty... they are utterly repulsive, reprehensible and boorish, including our "hero", Crane. I thought "Clean" is an excellent response to the wave of "torture porn" films that will, hopefully, soon crest, crash on the shore, and retreat; it's well past the time for another fad to take hold in the horror genre. Well-paced and well-acted, I give this film a Six Star rating.

The second film presented is "The Walkers". It tells the story of Mr. and Mrs. Walker (Greenacre and MacKenzie), a sociopathic married couple and would-be "Bonnie and Clyde" who get lost in a trackless Canadian forest along with two police officers (Muggleton and Kelly) who are pursuing them. The four of them spend a week in the wilderness, struggling to survive, until stress and fear drives all of them mad.

"The Walkers" is the best part of "Goregoyles 2". It's a smart horror movie that's imbued with a sense of oppression, dispair and growing anxiety throughout, and which is driven by a well-written script and some good acting on the part of the featured players. John Muggleton is particularly good as the jaded cop who finds himself stripped of a very important last hope while attempting to find his way out of the forest.

The violence in this film is sparse, so gorehounds who grooved on the level of splatter and guts that was featured in "Clean" may be dissapointed in "The Walkers". However, what violence that we do get is shocking and impactful, so those who like their horror movies with more substance than gore will appreciate this second feature far more than the first. In fact, "Goregoyles 2" covers both ends of the horror movie spectrum under one banner, ranging from a nearly pure blood-and-guts splatter-fest to an almost violence-free psychological horror film. "The Walkers" gets Seven Stars, and I hope to come across other work by Miles Finlayson in the future.

Finally, the DVD contains a discussion between directors Miles Finlayson and Alexandre Michaud as they kill a few beers. Like the interviews on the original "Goregoyles" DVD, this is an interesting bit of film that gives the viewer insight into the process of not only making the film at hand, but also revisits "Goregoyle: First Cut" and Michaud's notorious underground film "Urban Flesh". It's something that aspiring filmmakers in particular would do well to watch. This "DVD Extra" gets a Six Star rating as well.

With the range that is covered genre-wise in "Goregoyles 2", I think any horror fan will find something to like here. And I particuarly recommend this anthology film for those horror fans out there who think they can make their own movie. Goregoyles 2 Directors: Alexandre Michaud and Miles Finlayson.

'Goregoyles: First Cut' is a nice package

Goregoyles: First Cut (2003)
Starring: Robert Harvick, Sebastian Croteau, and Matt Busch
Directors: Augustine Arredondo, Kevin J. Lindenmuth, and Alexandre Michaud
Rating: Six of Ten Stars (for the film)/Seven of Ten Stars (for the overall DVD package)

This was a hard one for me to rate, not only because it's an anthology film of wildly varying quality, but also because the entirety of the DVD package is something I feel needs to be taken into account in the review. This is rare for me, as Most of the time, the "bonus features" on DVDs are fairly dull or just recycled/archived marketing materials. With the "Goregoyles: First Cut" DVD, however, most of the extras are interesting and well-worth being considered "bonuses.")

First, the movie. I'll rate each part of it seperately, and then give an overall rating for the film alone. "Goregoyles: First Cut" is the first in a series of films that will feature several short horror shorts, framed by introductory comments from Uncle Dodo (Croteau).

The Uncle Dodo sequences are both amusing and informative--the long-haired host is a combination of Joe Bob Briggs and the Cryptkeeper--something which isn't true of other low-budget anthology films I've come across. I suppose I should admit with some degree of shame that the Uncle Dodo set bears a disturbing resemblence to my office. (Okay, there's no blow-up doll in the corner, but the rest is strangely similar....) By themselves, I rate the Dodo sequences at Six of Ten Stars.

Then there's the first of the two short films, "The Holy Terror." This is the story of a man (Harvick) who gets possessed by a demon and then finds himself pursued by occultists and assassins for the Catholic Church.

"The Holy Terror" should be required viewing for anyone who makes or is contemplating making a horror film on a limited budget. Reportedly made for around $800, this short film is better crafted than some horror flicks with ten times its budget. It features good acting, nice camera work, a well-done and well-used music soundtrack, and is nicely structured and paced. The producer/director, Augustine Arredondo, also seems to have had a realistic sense of what he was able to accomplish--he limited his special effects to movie gore and didn't make any attempts putting monsters, physical transformations, or anything else that required lots of money to pull off on the screen--and he didn't attempt to pad his film to the 70 minutes minimum for a feature. Most low-budget horror movies are ruined not so much by crappy acting, but by padding and filmmakers attempting things their budget and resources simply don't allow for, and Arrendondo avoided both those pitfalls. Even better, he clearly understands that if your effects are cheaply made, you don't want to feature them in long, loving shots so the audience has a chance to roll their eyes and snicker at you. It seems like something that should be easy to understand, but given the number of filmmakers who don't do this, it must be a hard concept to grasp.

"Holy Terror" was Arredondo's first outing as a director, and so far his only one. This is a shame, because while it's not a perfect film--it could have done with a few more minutes of running time and story to fill in a couple of niggling plot issues, and a stronger ending would have been nice--it is still good enough to earn a rating of Eight of Ten Stars. It's a shame he didn't stick with directing.

The second film that Uncle Dodo presents is titled "Bezerker". Almost everything that "The Holy Terror" got right, this one got wrong... despite the fact that this one is supposedly the product of a "legend" of low-budget filmmaking, Kevin J. Lindenmuth, while the first film was the product of a newcomer.

"Bezerker" is a short zombie movie with a storyline so muddled it trips over itself, despite being thinner than a supermodel on a hunger strike. Basically, it's Viking zombies show up and kill people. To make matters worse, it has a cast of actors who range from bad to awful, and some of the worst zombie costumes put on the screen.

(Free tip to filmmakers: If you have a zombie who is rotted and decayed from wandering the woods for a decade, don't put it in a clean, bright white, freshly washed night gown. Similarly, rotting walking corpses shouldn't all be wearing black sweatshirts that look brand new, particularly not when some of them supposedly are 1,000 year-old zombie Vikings. Thank you. You're welcome to acknowledge me in the credits of your next film.)

Given that Uncle Dodo's description of "Bezerker" both in the intro and the lead-out make it sound interesting than it it, and seem more like a description of what SHOULD have been on the screen instead of what is, it sounds like the producers of the "First Cut" anthology were as bored with this worthless piece of trash as I was. There are two good scenes in it, one of which is almost ruined by terrible child actors, and the other undermined by an ineptly done gore effect--although the zombie eating himself while walking around still made me squirm and will stick with me for some time. This one gets Two of Ten Stars.

Overall, I give "Goregoyles: First Cut" a rating of Six of Tomatoes of Ten, skewing the rating a bit high, because as awful as "Bezerker" is, it's thankfully short.

The final thing I touch on here are the extras that are included on the DVD. Like I mentioned above, I don't usually take those into account when reviewing a film, but I make an exception here.

First off, the interview with "Goregoyles" producer Alexandre Michaud is interesting, insightful, and far more honest than the self-congratulatory marketing crap we usually get in these sorts of offerings. He talks about the origins and intent of the "Goregoyles" series, and even touches upon some shortcomings. Similarly, the "making of" documentary about "The Holy Terror" also features some very candid interviews with its star and director that provide an interesting look into "no-budget" filmmaking, and it's a real look at the production process, not just an extended ad that originally appeared on HBO.

Among the extras is also a "bloopers" section that doesn't actually contain bloopers but instead feature longer versions of Uncle Dodo's commentary. I liked these longer riffs better than what appeared in the film, although I also agree with the choice of shortening them; the films shouldn't be secondary to the host.

Finally, the disk contains previews for numerous movies in the Brain Damage Films catalogue. I'm impressed with the way they can make movies I know to be completely and utter turds (because I've had the misfortune of seeing them) look like they may actually be interesting. It's a nice look at what this distribution company offers--even if some of the previews are better than the films they are made to advertise!

When I add the high-quality extras on the "Goregoyles: First Cut" DVD into my considerations, the overall package gets an extra Star, bringing the rating up to Seven of Ten Tomatoes. I applaud Brain Damage Films for producing a DVD package where the "bonus" material is worth watching, and I encourage lovers of horror films to track this one down for "The Holy Terror" at the very least.

Note: "The Holy Terror" is also included in the Catacombs of Creepshow 50 movie pack. That might be a better way to get your hands on it, as you'll be getting a slew of other indie horror flicks... some good, some pretty awful. But the price is good.

'Mayhem Motel': Home of sex, violence, mimes, and puke baths

Mayhem Motel (2001)
Starring: Matthew Biancaniello, Sarah Berkowitz, Lorene Scafaria, David Langley, and Ray Jarrell
Director: Karl Kempter
Rating: Six of Ten Stars

"Mayhem Motel" defies summary. It is a collection of vignettes that are scrambled together to tell the story of a night of sex, murder, mayhem, and just plain weirdness. If one were to attempt to make sense of the film in order to take away a point to it, one would have to conclude the film was made to convey the messages that one should always keep one's motel room door bolted, and that sex with strangers kills--not because of venereal disease, but because of knives and guns. Oh, and there's also the moral that one shouldn't ever piss off a dwarf.

This is a film that is 100% unique viewing experience--and for that the world should be grateful.

First of all, "Mayhem Motel" contains the single most disgusting scene I've ever witnessed on film. It was so gross that I almost stopped the DVD when it occurred. The second scene of the movie has a character named Pukey in the credits (played by David Langley) settling into a tub and puking into the bathwater. He then proceeds to stir the water and vomit around him as he sits there. Whether that was actual vomit or some REALLY convincing special effects (and my money is on actual vomit... it simply too convincing not to be), the scene is so disgusting that it put me off my dinner. It almost put me off the rest of movie, but since it was so early on, I felt obligated to stick with it just a little longer. (As it turned out, I watched the whole thing.)

Second, "Mayhem Motel" is almost entirely plot-free. Each vignette has something of a story to it, but for each plot that is brought to an almost-conclusion, there are two that are left hanging, giving the overall movie a feel of a short story collection rather than a complete film. And I don't mean a collection of short films... I mean a collection of scenes like the ones you might have students write if you were teaching a writing workshop. They're interesting, they're pretty raw, but they're also for the most part utterly pointless except for invoking a momentary reaction in the viewer. While this approach did keep me watching, it's not one that I would want to see become commonplace.

That said, this film does feature some good acting, decent dialogue, and it moves along at a fast pace (with only the mime scene dragging a bit). The filmmakers obviously know their craft, and they know that they should put exactly what a scene needs onto the screen, and not a second more. Add that the fact that there are several hilarious moments (like both instances of a character choking to death during sex--in the "I know I shouldn't be laughing at this but I can't help" kind of way), and the end result is a movie that I find myself liking far more than is probably healthy.

Maybe my brain has finally rotted away due to all the Z-grade movies I watch? If "Mayhem Motel" had just a little more structure to it--the priest who we're introduced to at the beginning of the film should have been seen leaving the motel at daybreak the next day--I may even have given it a Seven-Star rating.

Although I still don't feel comfortable recommending anyone see it--although if you get it as part of the "Mental Maniacs" multi-DVD set as I did, you might as well give it a try--I still think but that "Mayhem Motel" has some impressive qualities to it. It MIGHT also be a suitable screener for a Bad Movie Night, if you have the right crowd. (I know that I'd never show this film to anyone *I* socialize with, but then I don't know everyone.)

2-fer-1: 'The Crawlspace' and 'The Red Cell'

Up today, are reviews of two horror films from the very talented Chris Schwartz. Unfortunately, he seems to have stopped making movies after finishing these two efforts.


The Crawlspace (2006)
Starring: Chris Schwartz, Jason Hastings, and Julian Peck
Director: Chris Schwartz
Steve's Rating: Six of Ten Stars

Mike (Schwartz) wakes up in a filthy, cramped space. A phone rings, he answers... and he discovers that he's been kidnapped and imprisoned by a psycho (who calls himself "The Director") intent on playing mind- and torture-games with him.

"The Crawlspace" is a surprisingly effective low-budget (well, probably no-budget) entry into the mysteriously popular "torture" horror subgenre that's emerged in recent years. Think "Blair Witch Project" meets "Saw", and I believe you'll have a sense of the general look and feel of this picture.

Chris Schwartz, who, according to the credits, did everything on this film but grind and install the lenses on the cameras, not only manages to convey the claustrophobic environment of the film's setting, but he gives a performance that's amazingly good, given what is typically found in small-budget indie pictures. Further, Schwartz seems to be a filmmaker who understands how to work within the limits of his means. The film he's set up here is almost perfect for a film shot on a partial shoestring budget, and Schwartz concentrates his resources and efforts on creeping the audience out with what he has on hand. Based on this film, I think he could probably do wonders with a four-figure budget, and I hope to find more films by him in the future.

That's not to say this is a perfect movie. Part of the film only works because of Stupid Character Syndrome, some of the sound effects needed a little more work, and the film could have used a stronger ending. But, these flaws are far from fatal, and the good outweighs the bad here, making this a picture that's worth seeing.

"The Crawlspace" is another movie that earns a spot on my "Free Advice for Low-Budget Filmmakers" list. If you're dreaming about making a movie with the change you just scooped out of the fountain at the mall, this is an example of how it's done, and it's a movie you have to see.


The Red Cell (2007)
Starring: Donovan Schwartz
Director: Chris Schwartz
Steve's Rating: Six of Ten Stars

Ayden (Donovan Schwartz) wakes up in a shabby basement where the walls are lined with cardboard and the only window has a strong electrical current running through it. He soon discovers that he has been abducted by a gasmask-clad maniac who is committed to curing him of his lethal cancer through a variety of hideous tortures.

"The Red Cell" does what most of the "capture and torture" movies fail to do. It generates genuine mystery and even some confusion (of the good kind, not the kind arising from a poorly executed flick) for the viewer to resolve as they watch. Has Ayden truly been kidnapped by some crazy man who fancies himself in possession of a miracle cure, or are all the horrible things that gasmask-clad figure--who sneaks in and out of a sealed room with ease--something that's simply a product of Ayden's sick body and brain? The film also has a dimension of psychological horror that so far I haven't seen any other of the sub-genre even come close to featuring.

I thought I knew exactly where the film was going, but then Schwartz throws in a twist-ending that made gave me a "Wow!" feeling that someone who watches entirely too many movies (like, oh, me) only rarely has. Schwartz, in one stroke, showed that not only can a talented and creative filmmaker do something VERY worthwhile artistically with the "capture and torture" genre, but he actually managed to make a film that deserves to be considered along side not only the "greats" of this sub-genre, but should be included when considering good horror films in general.

What's even more remarkable, Schwartz made his film on a tiny fraction of what the other wide release examples of the "tortured captive" genre are made on, and probably even less than the majority of the low-budget direct-to-DVD examples of it.

"The Red Cell" is currently seeking distribution, and it's a film that deserves to be seen by as wide an audience as possible. It's not a perfect film--it's a little too slow at times, driving home Ayden anguish and suffering well past the point where the audience has gotten it and the scene starts getting tedious--but it's one that horror movie fans will appreciate. Particularly those fans who are looking for something a little different.

'Vampire Conspiracy' is a good merging of two sub-genres

Vampire Conspiracy (2005)
Starring: Sarah Boes, Adrian Pryce, Ron Mazor, Christiane Garcia, John Lopes, John-Marc Fontaine, and Jaret Sacrey
Director: Marc Morgenstern
Rating: Six of Ten Stars

“Vampire Conspiracy” tells the story of six apparent strangers (Boes, Pryce, Mazor, Garcia, Lopes, and Sacrey) who wake up in a dingy room. They have no recollection of how they got there, and there is no apparent way out. Soon, a strangely clad man who introduces himself as Von Rhylos (Fontaine) appears and explains that they are trapped in a maze, that they have until dawn to escape, and that those who do will inherit the vast fortune of a world-weary vampire while those who do not will be consumed by his blood-sucking minions.

As they search for an exit—moving down identical hallways between rooms that can only be distinguished from one another due to ashes arranged on the floors to spell out seemingly random words—while occasionally fending off attacks from bestial vampires, it becomes clear not only have some of them been chosen for this “contest” because of their skills (like the cop with combat abilities, the criminal with the abilities to pick locks, or the occult expert), but that each of them harbors a secret that connects them to at least one other person in the group. As those secrets come to light, the group becomes less and les likely to want to work together, and they eventually hold as much danger for each other as the vampires stalking them do.

For the most part, “Vampire Conspiracy” plays like a cross between “The Cube” and “Saw”, with vampires taking the place of the captors and traps. That could have made this an okay movie right there, as it’s a fine amalgam of the good concepts of those two other very successful horror films. However, the movie takes on a dimension that will appeal to fans of more classic horror films—the vampire movies from the 1930s through the 1960s—when master-vampire Thelonius Von Rhylos makes his appearance.

John-Marc Fontaine’s portrayal of Van Rhylos has an air about it that is at the same time noble and bestial, like Bela Lugosi in “Dracula”, Christopher Lee in “Horror of Dracula”, and David Peel in “Brides of Dracula”. This classical touch adds a sense of class that is all-too-rarely found in horror movies anymore.

But Von Rhylos isn’t just a bit of retro that’s in the film for traditionalists like me. Although he brings a bit of the classics to the film, he is a character with better-developed motivations than the vampires from the movies he brings to mind.

Von Rhylos has been around for 250 years, and he feels that humanity gets more and more corrupt with each generation that passes him by. He has therefore taken to creating elaborate webs of temptations designed to draw out the cowardice, greed, lust, and bigotry of seemingly decent people… webs that culminate with their confinement to his maze.

In the case of the six people in his current “contest”, as we come to learn their personal secrets and the event that connects them all (and how that event came to be), it seems the vampire may have a point… although this latest game of his doesn’t quite turn out the way he had intended because it is also being rigged by one of the “contestants.”

The motivations of the vampire, the secrets and hidden connections of the people he’s captured add up to a surprisingly effective third act and an ending that reminded me to never make up my mind about a movie until the end credits start to roll.

Although the various components that make up “Vampire Conspiracy” are not particularly unique by themselves--“catch ‘em and toss ‘em in a maze” seems to be the main starting point of every third indie and studio horror film, vampire movie have been around almost as long as there have been movies, and the featured characters are mostly stock figures that are expected to be in movies of both the vampire genre and the “capture” genre--writer/director Marc Morgenstern uses them in unexpected ways that ultimately adds up to a movie that keeps you wondering about how it will all end, right up until the final moment. (At about the halfway mark, I had decided this was an okay film, but nothing to get terribly excited about, but then Morgenstern stirred things up, and he kept crossing my expectations and assumptions about where the movie was going and left me with a feeling of “wow!” at the end that I rarely experience over movies anymore.)

I also tip my hat at Morgenstern for being a filmmaker who understands how to work within the limitations of his budget. The way he works his limited sets were great, and he doesn’t attempt any special effects or stunts that are beyond his means. He also knows that every second of screen-time has to count for something, or the movie’s impact is squandered.

Too many low-budget filmmakers have visions that are grander than their budgets and available talent pools, but lack the sense to scale their vision to match the budget and talent at their disposal, and even more have some sort of pathological need to pad their movies with nature shots and pointless scenes with characters wandering about doing nothing. Not so with Morgenstern. This is a sparse movie where everything is on the screen for reasons important to the film rather than its running time... and because things are so tight, the tension keeps building through the movie, and the various attacks the characters suffer at the hands of the bestial vampires in the maze with them seem increasingly frightening.

However, despite my loving it, “Vampire Conspiracy” is not a perfect movie.

Although blessed with a cast that are all better actors than many low-budget horror films, those actors bring a very theatre-like air to their performances. While it’s not the weekend community theatre they remind me of--they are all far better than that--I found myself repeatedly thinking of this as taped stage play than a movie. Part of this help underscore the classic feel that the Von Rhylos character brought to the film, but for the most part it was mildly distracting.

The fights between Sarah Boes and Adrian Pryce also had a clear stage-performance sense about them. I don’t know if the problem was not enough rehearsing, or if the problem was the wrong kind of choreography, but they felt more like they belonged on the stage at the Seattle Rep Theatre rather than on my TV screen. I also think the foley work on the fights was a bit too subtle. It’s a fine line between too much and too little when it comes to sound effects, but I feel like Morgenstern was just on the too little side of the line.

Another weak spot is the dialogue, and it’s the only weak spot in an otherwise well-written script.

With a movie that is driven first and foremost by the characters, like “The Vampire Conspiracy”, it’s important that those characters each have a different personality, particularly if they are stock figures like the ones we have here. One very good way to make each character different is to craft their language-usage. Here, though, each character basically sounds the same, particularly during the first few minutes where every character is yelling and swearing and uttering “fuck” with every third word. In fact, that seems to be the only curse word that any of these characters know. A little more time should have spent on polishing the script and giving each character its own unique voice.

In the end, though, these weaknesses don't drag the movie down too much... it still teeters on the higher end of average when everything else that's out there is taken into account.

'Unborn Sins' is a concept that deserved better

Unborn Sins (2005)
Starring: Michelle L. Harris, Sean Contrearas, Jim Barbour, and Paul "PJ" Peneloza
Director: Elliott Eddie
Rating: Three of Ten Stars

A psychic detective (Contrearas) and his partners attempt to stop the deadly rampage of the spirit of an aborted baby (Peneloza) that has been summoned into the world by cultists so it can take revenge on everyone involved it having it aborted, including its would-have-been mother (Harris).

"Unborn Sins" is one of those movies that has an intriguing idea at its heart--what happens to the souls aborted babies?--that deserved a far better execution than the means available to writer/director/producer Eddie Elliot. With decent sound work, decent lighting, better cinematography, better actors, and a script that had been taken through a draft or two more--or perhaps revised by a more experienced writer--this could have been one chilling movie. As it stands, it's a movie that I really wish I could like more than I do, and a movie that I wish could be remade in stronger hands.

Lighting and sound problems aside, the biggest weakness of its film is its running time. There are several scenes that are near-pointless (such as the one where Harris' repulsive boyfriend dances by himself to rap music for what seems like forever, or the basketball game at the park that likewise went on and on and on) and a subplot involving some sort of kidnapping/drug deal that doesn't have anything to do with anything else in the movie, except that the detective agency was somehow involved with that case. If the film had been tightened up from and its running time of nearly two hours shortened to 80 or 90 minutes, I think it might have rated as much as a 4 on its ideas alone.

(The technical problems and the running time aren't the only problems. There's also quite a bit of unintended hilarity in the film, such as when the obnoxious boyfriend is prowling through his apartment trying to look all Gangsta with a gun in each hand, holding them right next to his face. I kept hoping he'd fire, because watching the ejected cartridge smack him in the face would have been very amusing. Similarly, the Big Fight between the heroes and the angry spirit is more ridiculous than suspenseful because everyone starts behaving as if they just escaped from a Kung Fu movie made in 1973. These elements might make the film worthy of inclusion in the line-up for a Bad Movie Night, so long as you keep in mind there will be long stretches of overly padded scenes.)

"Unborn Sins" is one of the most intriguing films I've ever given a low rating to, and I wish I liked it more than I do. As I said at the top, the whole abortion angle is an intriguing jump-off point for a horror film and I wish this had been a more solid film. Therefore, despite its many flaws, I think it might be worth checking out for those who are able to look at low-budget films with kind eyes and forgiving hearts.

"Unborn Sins" is available as part of the inexpensive "Sinister Souls" 6-movie pack, the even-cheaper-by-the-movie "Tomb of Terrors" 50-movie pack, or as a stand-alone DVD. I think you'll find your money better spent if you acquire it along with 5 (or 49!) other low-budget indie movies. I think it's worth seeing, but it's not worth full price.

'Puppet Show' fails to live up its potential

Puppet Show (2006)
Starring: Erica Slider, Tom Wooler, and Nina Tepes
Director: Jay Gowey
Rating: Three of Ten Stars

After her grandfather is murdered, Casey (Slider) inherits Charlie Chowderhead, the puppet that helped make him a star during the Golden Age of Television. Unfortunately, Casey also inherits the family curse, and she is soon at the center of a maelstrom of death and horror.

"Puppet Show" is another one of those low-budget efforts that fails to live up to the potential of the ideas contained within it, not because of lack of funds but because its execution was botched. It's another one of those movies I sat down wanting to like--how can you NOT want to like a slasher movie featuring a demonic clown when your tastes run along the lines of mine?--but which nonetheless disappointed.

The biggest problem is that even at a scant running time at just over an hour "Puppet Show" feels padded. There are several scenes that drag on well past the point where they should have ended and others that serve no purpose whatsoever. It also doesn't help that the acting leaves a lot to be desired on the part of most performers who either overact fiercely or seem to be heavily medicated. (The only exceptions here being star Erica Slider as the unfortunate Casey, Nina Tepes as her slutty best friend Kat, and Tom Wooler as Casey's grandfather "Ringmaster Rick", each of whom give a decent accounting for themselves.)

The film does have some good moments, however. The dream sequence where Casey is a puppet being manipulated by a giant Charlie Chowderhead is very creepy, Kat's death and the subsequent mutilation of her body is shocking, and the demonic puppet is very well done for a movie of this level... which isn't surprising as the production company behind it, Monsters of Extinction, is first and foremost a special effects firm. That said, I wish the filmmakers had sprung for two puppets, one that looked less evil when it wasn't animated and stabbing people to death and the demon-faced one. The differences would have to have been subtle, but I think the end result would have been a scarier and ultimately more believable film monster.

A testament to the great ideas that are at the heart of this fillm is that as it unfolded, I found myself reorganizing the story in my head, putting it together in a more effective fashion and editing out the padded sequences and pointless scenes and characters. "Puppet Show" had great potential, and it's potential that shines brightly in a few scenes but is mostly not fully realized.

If you are really into killer puppet/doll movies, it's worth checking out, although you might consider going with Charles Band flicks like "Doll Graveyard" or "Blood Dolls" before this one. Everyone else might just want to give it a pass, because the worthwhile moments here are few and far between.

'Divine Intervention' is a well-done first outing

Divine Intervention (2007)
Starring: Ingrid Fenn, Alyssa Jayne Hale, Kyle Erha,Patrick Pitu, Vic Clay, Kevin Cirone, Salvatore Marchese, Jonathan La Mantia
Director: Rufus Chaffee
Rating: Five of Ten Stars

Holly (Fenn) and Sarah (Hale) travel to a small town for a night of partying, but they soon find themselves in the caught up in a struggle of nerves between the town bad-boy (Erha) and a third-rate thug (Cirone). Things go from bad to worse when a crazed meth-head (Clay) goes on a murder-spree motivated by a theology based on the Bible and lessons learned from the reality TV show "Survivor", and a belief he is harvesting souls for the Army of God.

"Divine Intervention" is a low-budget thriller that occupies a space somewhere between "Scream" and any one of a dozen exploitation flicks from 1960s and 1970s where innocent young people find themselves menaced by evil and crazed druggies in the isolated countryside. For most of its running time, it's a better film than both contemporary and old-time examples of this type of movie, because it moves forward at a steady pace, is free of padding--there is not a single scene of characters wandering through the woods or driving aimlessly down the road--and features actors who are familiar enough with their craft and their lines to actually portray characters instead of just run lines and keep to their blocking.

Another aspect that sets this film apart from others like it is the professionalism with which it has been produced. Real money was spent on cameras, lights, and sound equipment-no camcorder microphones here, nor any badly done day-for-night shots. The film has also clearly been carefully editing and taken through the entire post-production process, aspects many low-budget filmmakers don't pay anywhere near enough attention to. (There are still a couple of rough spots here and there--like ambient noise changing between a close-up and an over-the-shoulder shot during an conversation between two characters, and an obvious lack of discharge from a gun that gets fired into the camera--but these flaws can be found in movies made with ten times the financial and technical resources that Chaffee and crew had at their disposal, so they are not at all damning. Particularly not when one considers the state of post-production on most other low-budget films.)

"Divine Intervention" is also blessed with a superb casting. The lead actors are all decent, and the Beautiful People look of the majority of the cast makes the ragged meth-head look of Vic Clay's "Father Reynolds" character that much stronger. (In fact, Clay has a number of great moments in the film, moments which would have fallen flat if he had been a lesser actor. Look in particularly for the scene where he is trying to impart one of his Bible/"Survivor"-based lessons to his brain-fried homicidal minion.)

The film's dialogue is also well-crafted for most of its running-time. A number of characters have unique voices, something that screen-writers achieve all too rarely. In fact, the whole idea of incorporating "Survivor" into the fabric of Father Reynolds' psychosis was a great idea, as it lends both humor and creepiness to the character... and it's references that virtually everyone seeing the movie will understand and laugh at. I know this, because I've never seen a complete episode of "Survivor", I can't think of a single friend who was a fan of the show, yet "Survivor" was a large enough part of pop culture for a while there that I picked up enough about it to understand every reference that Father Reynolds' makes.

Unfortunately, for all the good things about "Divine Intervention", the film starts to fall apart as it enters its third act. Characters start behaving illogically and downright stupidly for the purpose of nonsensical melodrama, there are some VERY lame fight scenes, and the quality of the acting and the dialogue also seems to deteriorate a bit. It also doesn't help the ending that there are a couple of useless characters that bog it down--the slutty mother of another minor character and the obligatory tough-talking black guy. (The presence of the slutty mother makes no sense at all, other than perhaps Chaffee felt that every "sinner" had to be disposed of in the film. He would have been better off leaving her out of the climax, though, particularly since the way we never see her face toward the end makes me think the actress who played her earlier in the film wasn't even present.)

I think with one more draft of the script before filming started--to get rid of some of the useless characters and subplots, and to tighten up the film's ending to a large degree--Rufus Chafee could have had himself a fantastic first outing as a feature film director. Instead, because of the way the film falls apart in the third act, he's ended up withing something that's at the low end of average.

I hope that Chaffee tries his hand at another feature. Based on the high level of quality here, I suspect he's a creator who learns from his mistakes, and I think a second movie will be much, much better.

I hardly ever say this, but I think Rufus Chaffee is a talent to watch for in the future.

'Purvos' is one to pass over

Purvos (2006)
Starring: Dave Workman, Stephani Heise, Nathan Day, Conrad Brooks, and Natasha Rogers
Director: Jerry Williams
Rating: Three of Ten Stars

When a sleep disorder researcher (Heise) starts finding similarities between the dreams of several patients--including her own ex-lover (Rogers)--she starts to believe there may be a paranormal connection. Her investigation eventually leads her to a deadly confrontation with a serial killer (Workman).

"Purvos" is one of these shot-on-video productions that has amateur written all over it. It's one of those films made with more love than skill, so I find myself hesitating to pan it--and therefore review it.

However, "Purvos" is available both in the "Demented Deviants" and the "Tomb of Terror" DVD multipacks from Pendulum Pictures, and as a stand-alone DVD from Brain Damage Films. Someone other than the filmmakers obviously believes this film is worthwhile, and I can't bring myself to agree with them. So, I feel like warning those who haven't been exposed to it yet.

At its best, "Purvos" rises to the level of solid mediocrity. The camerawork, editing, lighting, any other technical aspect of the film are average for what I've come to expect from filmmaking at this level. In fact, the editing is slightly below average, but I think this stems from a problem with the director rather than the editor, as I more than once had a sense that veteran film actor Conrad Brooks was repeating himself during a scene so the best delivery of a line could be included, but instead the repetition is included in the film.

Where things start getting really bad is the acting. Universally, the acting is of the sort I'd expect to find in a community theatre production, not in a movie. In fact, most of the actors are delivering their lines as if they on a stage. Almost every performance is stiff and unnatural... and, frankly, feel more like they are rehearsals than final, film-ready performances.

Of course, the bad acting may not entirely be the fault of the actors. The film features some pretty awful dialogue. It's not quite the worse I've ever encountered, but it is close. Perhaps if the dialogue had sounded more like the way people talk instead of sounding like it came from the first draft of a story submitted to a fiction workshop.

But the bad dialogue is only part of what drags "Purvos" down from being a standard amateur horror production to being barely worth watching. In fact, the rest of the script makes the bad dialogue seem like it's not that big an issue. We've got bad pacing, badly motivated characters, badly explained or utterly worthless plot elements, and a non-ending that makes no sense anyway you choose to look at it.

I think the most frustrating things about this film is that the two worst elements of the script and the way the film is executed could have been the most interesting parts of the film. There are good ideas somewhere here, but they are so badly executed that it's hard to recognize even their potential.

The worst of the badness is the mad slasher, Uncle Max/Purvos (played by Dave Workman with gusto but not terribly convincing). How/why is his causing nightmares in his niece? Why does he want to kill her? Why is his backstory so damn trite that it would have been best if it had been left out all together? The supernatural tie-in here--manifested by some sort of psychic link between Uncle Max and one of his intended victims--could have been a saving grace for the picture, but it remains mostly unused and it's completely pointless in the overall flow of the picture. (There is a far more plausible path included in the film to involve the film's main character in the events than she's uncovered some sort of pyschic activity.)

The second worst is the character of Professor Jessup (played by Conrad Brooks with... um... I'm not quite sure with what, but something involving 80-proof comes to mind). In the first place, his character is a worth appendage to the film, almost as if it was inserted after what passes for the script was written and someone said, "Hey... my dad knows Conrad Brooks, and he's going to be in town for the weekend, and he wants to be in our movie!" And, to make matters worse, his character is featured in a nonsensical ending that I'm sure is intended to be some sort of twist. But it's not. It's just bad. Yet, if this part had been better written and more tied to the story of the film, this could have been place to fully develop the supernatural angle of the story.

In final analysis, "Purvos" is a film that's barely worth watching. It's harmless filler in the 50-movie collection "Tomb of Terror", but it's bound to be drag on the value of your movie-watching dollar in the "Demented Deviants" set, and it's certainly not worth whatever the price for the stand-alone DVD is as a purchase or a rental.

Its got nothing to get in the way of the violence

Kill the Scream Queen (2004)
Starring: Bill Zebub, Deborah Dutch, Debbie D, and Isabelle Stephen
Director: Bill Zebub
Rating: One of Ten Stars

A sexual psychopath and serial killer turned movie-maker (or movie-maker turned sexual psychopath and serial killer) (Zebub) lures wanna-be actresses to an abandoned bar with the promise of being in his horror movie/snuff-film. He then tortures and rapes them.


That is not only a summary of "Kill the Scream Queen", it is the entire content of the film. There is virtually nothing worthwhile here, unless you want your "torture porn" almost completely free of plot and character development, and with a little more actual porn that you find in the "Hostel" and "Saw" movies.

The very low One Star-rating I'm giving this pointless piece of "filmmaking" is based on the one victim that fights back in a big way. Otherwise, most of the girls here are just so much meat--only two show even the slightest glimmer of acting talent--and the filmmaking and effects are pedestrian in the extreme.

Worse, the film is such an amateur effort that the director can't even keep his continuity straight. In one scene, he rips a girl's panties off so he can rape her, yet when he dumps the body, they're back on and they're intact.

(The only positive things I can say is that the "writer and director" of the film didn't attempt to overreach his $1.25 budget. There's also the "message" that gets delivered via film-maker's monologues directed at his victims... that an emphasis on sex and gore over acting and story is ruining the horror genre.)

I like the high concept of the movie... but I just wish a movie had actually been made with it, instead of a collection of clips with girls taking their clothes off and being menaced and killed with nothing else going on.

Another failed attempt at capturing a webcast

Dead on Site (2011)
Starring: Mai-Ly Duong, Jamie Perkins, Robbie Daymond, Maggie Guzman, Christopher Burnham, and Jaymz Johnson
Director: Scott Kenyon Barker
Rating: Four of Ten Stars

A group of college students set out to webcast reenactments of gruesome, unsolved murders from the house they happened in. But after their website goes live, mysterious happenings, both online and in the house, make them fear that they are being watched... either by supernatural forces, or perhaps by a very real killer who might want to some reenacting of his own.

"Dead on Site" is the third horror movie I've seen that tries to build a story around webcams and the broadcasting possibility they represent vis-a-vis "reality television". It's also the third time I've seen filmmakers fail to make a good horror movie based around the concept.

The first was "Halloween: Resurrection" (2002) a sequel so misbegotten that Michael Myers felt shoe-horned into his own series. Then came "Hell Asylum",which was either a symptom of not-so-great minds thinking alike, or of what happens when schlock filmmakers want to rip off what they perceive as "the next great thing". Now, it's "Dead on Site", which is better than the ones that came before, but which is still a deeply flawed movie.

First off, the final college project that the film is based around is very inept in its execution, vaguely defined, and not the sort of thing I can see a professor signing off on, let alone giving a passing grade for at the end of the day. (Well, except out of sympathy, given the way things turn out but that's not what they could have counted on going in.)

Secondly, the script is poorly written. Each character sounds and talks alike and they don't even have much in the way of personalities to distinguish one from the other, so when they start getting killed off/disappearing, you'll find yourself asking, "Who was that again?"

It doesn't help anything that the attempts at casting this or that character as the possible killer that has infiltrated the group boil down to a pair of characters threaten to kill the one truly obnoxious member of the group.

The couple of characters that have interesting back-stories are also not properly utilized, such as the wanna-be detective hoping to crack the murder mystery--I don't think I've seen less investigation or less serious recreation of a crime scene take place outside of backyard cops-and-robbers games among 9-year-olds--or the B-movie actress turned grad student at the end of a flamed-out career. Both of these characters could have been utilized to add some depth and texture to the story. The performances given by the actors aren't bad, but the material they are working with is so thin that there's not much they can do with it.

Finally, there's a completely unnecessary and out-of-left-field supernatural element inserted into the story at the 11th hour when the killer is revealed to be an immortal servant of Satan. There is no set-up of this element, nor does it have any connection to anything else in the movie.

Perhaps if the script had been taken through another draft or two, the dialogue would have been sharpened and the character elements would have been more clearly defined and utilized in driving the story. Heck, perhaps even the "immortal killer" idea would have appeared at some point earlier in the story.

Basically, this film fails because of the one thing that even the lowest of low-budget filmmakers has complete control over: The quality of the script. And it's too bad that an otherwise decent cast is let down by it, with Jamie Perkins is particularly good at playing a complete jerk.

"Dead on Site" premieres on DVD on April 5. My thanks to Maxim Media for providing me with an advanced copy of the film to review.

'The Abducted' is saved by its stars

The Abducted (aka "Match.Dead") (2011)
Starring: James Ray, Kathleen Benner, and Michael Harrelson
Director: Jon Bonnell
Rating: Five of Ten Stars

A serial killer (Ray) abducts a young woman (Benner) he met through an online dating site. After deciding he loves her, he forgoes his usual habit of murder, and he tries to win her affection through violence and terrifying mind games. Will she escape, or will she end up as just another victim?

"The Abducted" is a movie that's elevated by a actors that ALMOST manage to transcend the weakness of the material the are working with. The idea behind the film is an interesting one--it takes the basic framework of the countless torture porn movies that have been spewed forth into the direct-to-DVD market and onto the big screen since the surprise hit "Saw" but uses it for a psychological thriller instead of a disgusting sadistic gore-fest--but the execution is lacking.

The biggest flaw with the film is that we never get any insight into the film's villain, Ridley, and why he does what he does. Nor do we ever gain an understanding of the tortured heroine, Valora, even if we get several flashbacks to her childhood, which the writer and director presumably felt would explain why she was able fight her abductor and why he saw a kindred spirit in her. Because the villain and the heroine both remain unknowns to us, much of the potential emotional of the film never materializes. The battle of wills between the two characters feels a bit hollow and even the murder of the girl's grandfather feels like nothing more than a badly motivated excuse for some splatter and melodrama, because we know even less about the grandfather than we do the heroine.

While it's good for a movie to hit the ground running, it would have been nice if there would have been a little more set-up of the characters in this film. Specifically, how the main characters met, and why someone who seems as appealing and strong-minded as the kidnap victim had to resort to online dating to find love? All this could have been accomplished with just a few minutes at the beginning, perhaps even showing the two characters meeting after their online connection. (All the promotional material for the film references online dating and the initial meeting of the two main characters, so I wonder that material never made it into the movie.)

More background on the main characters would also have helped make the ending seem more satisfying, because as it stands Valora's transformation is very, very lame. (The ending also made me wonder: Why do so many action and horror films end with the villains getting killed? In so many movies, it would be a far worse punishment for the bad guy to go through the humiliation of trial and imprisonment. Death is the easy way out. It most cases, the justice isn't even poetic, nor barely even justice.)

It's a shame the script here ins't stronger, because James Ray and Kathleen Benner both give fine performances, and they each have enough charisma together and apart to carry the film despite its flaws. This is the second time I've seen Ray play an unpleasant bad-ass (the other time being in "Fable", a film which also happened to feature Benner in a small part), and I think he if all goes well for him he might find himself a prominent spot in the pantheon of cinematic heavies.

"The Abducted" will see wide release on DVD on March 7. My thanks to the good folks at Brain Damage Films for supplying me with an advanced copy.

'Sabbath' is full of good concepts but still fails

While straightening up my office, I found some movies I'd misfiled. For who-knows-what-reason, I'd put about half a dozen DVDs in my "Watched" drawer when I had done nothing of the sort!

I'll be trying to get to those movies as soon as possible, but by way of setting the stage for one of those upcoming reviews, here's an Oldie But a Goodie that originally appeared at revenant.com.


Sabbath (2008)
Starring: Ashley Gallo, Bobby Williams, David Crawford, Rob Holmes, Cory Wisberger, and Cheyenne Stewart
Director: William Victor Schotten
Rating: Three of Ten Stars

Geller (Gallo), Mack, (Williams), and a trio of oddball misfits (Crawford, Holmes, and Wisberger) struggle to join forces and stay alive as the dead rise from their graves. They are, literally, the last five living beings on Earth, as it is Judgement Day and angelic beings and shadowy demons are prowling around them, waiting and watching for one final event to occur.

"Sabbath" is a low-budget zombie picture that shows every indication of being made with dedication and heart. The best part is that there was a fair degree of talent at work in the cinematography department. It even has a number of appealing aspects as far as the story goes. Unfortunately, it's simply not very good. It is a tie between this film and "Revolt of the Zombies" for the Dullest Zombie Movie I've Ever Seen Award.

Basically, the film suffers from all the usual flaws that are often found in horror movies at this level. Establishing shots go on forever. Lots of scenes of characters running, walking, or standing in forests with nothing else really going on. Lame fight scenes that might have been less lame if a) the director had attempted less of them, and b) more rehearsal time had gone into staging them--the climactic battle in the churchyard wold have been so much better if it had been concentrated into about half or one-third of the time it takes in the existing film. The actors mostly seem lethargic, as if they are at a rehearsal instead of actually making the movie. Almost every scene continues well past the point where it should have ended. There's also the sloppiness and shortcuts taken where just a little extra effort or investment would have improved things immensely--like giving the Angel of Death a scythe that looked like it might actually cut something, and dressing the demons in black tights instead of black jeans and sneakers.

In fact, "Sabbath" would have been far less boring if the director had recognized that he was stretching about 45 minutes of movie to nearly twice that length. It also would have been less boring if the script had seen a couple more revisions and if it had ended up with a little more sound logic to underpin the fact that the five main characters in the film aren't the
final five living beings on Earth by accident.

Late in the film (VERY late) we learn that all five characters had some part to play in the accidental death of Geller's daughter. The Angel of Death and some other angel (the Angel of Mercy? Archangel Michael? It's never named, but it's played by Cheyenne Stewart) are waiting to judge let just one of them into Heaven as the last soul before the gates close forever. However, the timing of the little girl's death as given in the film makes no sense, as she supposedly died two full weeks prior to the events of the film. We are to believe that on the ENTIRE planet Earth, no other events of that nature occurred for two weeks? The film would have been far stronger if the death of the little girl had occurred the day before the Judgement Day instead of weeks prior, as the notion of these five people needing to be judged "after the fact" would have made more sense.

I really wish I could like this movie more, because it has some aspects to it I really enjoyed.

I liked mystery of the grim reaper, the angel, and the evil spirits (or demons, whatever they were) creeping about or even assisting the film's main characters unseen by them; that's something I've never seen in a zombie picture before. One of the film's best moments happens when the Grim Reaper smites a zombie just as it was about to attack Bobby Williams, and he is then left trying to figure out why the zombie just keeled over. I also liked the way the film overtly got into the the mystical Judgement Day aspects of mass-zombie attacks instead of presenting it as one character's superstition and then dismissing it with a scientific explanation. I also liked the very end of the movie, even if I 'm a bit unsure of what exactly the director was trying to convey.

The best thing I can say about "Sabbath" is that it kept me watching. The bit with the angels, demons, and a mystical Judgement Day unfolding around the characters gave this zombie flick an unusual dimension. In fact, that whole aspect of the film may make it worth checking out for experienced watchers of the zombie genre.